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1. 2. 3. Paris by night

1. Au Moulin de la Galette, La Goulue et Valentin le désossé , 1887, Grisaille on board ACTORS OF THE NIGHT 2. Au bal de l’Elysée Montmartre , 1887, Grisaille on paper mounted on canvas 2. 3. 3. Chocolat dansant , 1896, Oil-based paint, blue pencil and Conté pencil The music halls enjoyed constant promotion in the illustrated press and one of the most famous, the Moulin Rouge, figured MONTMARTRE often. It opened its doors in 1889, at 90, Boulevard de 1. Clichy where it dominated Place Blanche, helped in no small Henri de Toulouse-Lautrec’s work is associated with the measure by press and tourist guide advertising, cannily representation of Parisian nightlife at the end of the nineteenth coordinated by Charles Zidler and Joseph Oller, the venue’s century. The connection with Montmartre, which seems natural directors and impresarios. In 1892, the publishers Boussod and inevitable, took shape gradually in 1882, Toulouse-Lautrec and Valadon brought out the first colour lithographs by began his training in Léon Bonnat’s studio at 30, Avenue de Henri de Toulouse-Lautrec, At the Moulin-Rouge, La Goulue Clichy and went on to 10, Rue Constance with Fernand Cormo n; and her sister and The Englishman at the Moulin-Rouge . in 1884 he moved to 19 bis, Rue Fontaine and from 1886 to To create these lithographs, Lautrec did his researches, 1897 rented a studio at 7, Rue Tourlaque, on the corner of rapid sketches, drawn and painted studies, and made a Rue Caulaincourt, near Boulevard de Clichy and Boulevard de preparatory study, the portrait of William Warrener (1861-1934 ): Rochechouart where cabarets and café-concerts proliferated. At the Moulin-Rouge. Portrait of Mr Warrener . This English From the late 1880s to the early 1890s, dance-halls, dancers student who arrived in France in 1885 to pursue his studies and the stars of Parisian nightlife made up one of the main at the Académie Julian was chosen by Lautrec for his model. themes of his work. The son of a coal dealer and justice of the peace, Warrener From 1806, Montmartre had 636 inhabitants and there were symbolised the English golden youth which came to Paris, sixteen authorised dance venues. In 1860, the commune capital of the arts and partying, to let their hair down. of Montmartre was attached to the capital with a population of 57,000 inhabitants and the Butte remained a corner of the The impresarios outdid each other in imagining and inventing countryside for Parisians where it was pleasant to come for new numbers to attract the public, such as processions some enjoyment. 1834 saw the opening of an open air tavern, and cavalcades, subjects which Lautrec painted from 1893, the Moulin de la Galette . It was an immediate success and then on February 15 th 1896, in the humoristic revue Le Rire. painters and draughtsmen mixed with the local clientele. While Carnival at the Moulin-Rouge, Entrance of Cha-U-Kao shows the polka remained popular, new dances appeare d: the quadrille, a carnival procession, combining the military and the the chahut and then the cancan. The future stars of the Moulin burlesque, with the dancer and clown Cha-U-Kao in the centre. Rouge made their débuts there. In 1887, Lautrec represented Behind, Lautrec is represented in the company of his them in a monochrome oil on board At the Moulin de la Galette, cousin Gabriel Tapié de Céleyran, in the passage way of the La Goulue and Valentin the Boneless , in which he concentrated Moulin Rouge. A drawing by Lautrec, Chocolat dancing , on the contrast between the two figures. It involved capturing was also reproduced in Le Rire , on March 28 th , 1896. It showed a pose in this frenetic dance which only lasted an instant. This the final moment of a dance movement, just before the fall. style which blurs the borders between drawing and painting In the bar of Achille at 33, Rue Royal, beside Chocolat, a clown becomes a characteristic of Lautrec’s work. It was used again in in the Nouveau Cirque, were gathered the clown Footit, At the ball of the Elysée Montmartre . He transcribes the world the English jockeys and trainers as well as the local coachmen. of this café-concer t; a modest establishment opened in 1840 Lautrec finds his subjects in this heterogeneous microcosm on Boulevard de Clichy, it was transferred in 1886 to Boulevard and his keen eye and innovative energy are the keys to his Rochechouart and became a well-known venue. At the end of the nineteenth century, beside the Moulin Rouge, over forty palaces modernity. of entertainment were listed in Montmartre.